The Tasters (15)
Directed by Silvio Soldini 
⭑⭑⭑⭑☆

 

THIS powerful and chilling drama reconstructs the remarkable true story of the women forced into becoming food tasters for Adolf Hitler towards the end of WWII. 

It is based on Rosella Pastorino’s bestselling book, At The Wolf’s Table, which was in turn inspired by the revelation of 95-year-old Margot Wolk in 2012 of how she had been one of the young German women coerced into tasting Hitler’s meals for more than two years to check for poison at his top-secret hidden headquarters, known as the “Wolf’s Lair.” It was located near the former East Prussian border, now north-eastern Poland. 

The film, co-written and directed by Silvio Soldini, follows Rosa Sauer (Eliza Schlott) who, in November 1943, moves from Berlin to the countryside in eastern Prussia to stay with her in-laws while her husband is away fighting on the Russian front. Soon she is hauled into Nazi headquarters where she joins six others, both widows and single young women, who are ordered to become tasters. After each meal they have to wait an hour to see whether or not it was poisoned. 

The film explores growing friendships, loyalty and betrayal, and shows the brutality of Nazi officers against German citizens as they kick and beat the women mercilessly, as well as force them to eat at gunpoint. The dinner scenes, that turn into a waiting game, are exceedingly tense, and bone chilling. 

Although the women were paid for their work they could not quit. Their situation worsens with the arrival of a new commander, Albert Ziegler (Max Riermelt), who immediately asserts himself, laying down the law and taking a shine to Rosa. They soon become involved and, in a moment of vulnerability, he reveals to her how he found it traumatising and difficult to kill women and children. However, as he later proves, once a Nazi always a Nazi. 

Interestingly you never see Hitler, but his presence and influence loom large. Two of the women are obsessed with him and earnestly grill the chef, who makes his meals, about him. They learn the Fuhrer is vegetarian and does not drink alcohol.  

Schlott gives a powerhouse performance as Rosa while Riermelt is frighteningly convincing as a Nazi commander. 

The Tasters provides another horrific, yet little known side to the Nazis. It is a definite must see. 
MD
In cinemas March 13

A Pale View of Hills (12A)
Directed by Kei Ishikawa 
⭑⭑⭑☆☆

 

KEI ISHIKAWA’s latest film explores the impact of historical tragedy on memory, identity and personal relationships. Adapted from Kazuo Ishiguro’s novel, it interweaves two narratives.

In Nagasaki in 1952, Etsuko is pregnant, trapped in a stifling marriage and losing her identity as a musician. 

In England, 30 years later, she is questioned by an adult daughter struggling to understand the suicide of an older half-sibling, her family’s migration from Japan, and the reasons for her mother’s secrecy. 

At times, Ishikawa’s apparent rejection of ambiguity in favour of exposition leads to perfunctory and unconvincing dialogue. This, in turn, impairs his exploration of characters’ tendency for self-deception.

However, there is much to relish. Ishikawa’s examination of the emotional fall-out of cultural change is absorbing; Piotr Niemyjski’s stunning cinematography highlights shifts in mood and enhances the storytelling; and there are formidable performances from the central cast, particularly Suzu Hirose as the younger Etsuko. 
AH
In cinemas March 13

How To Make a Killing (15)
Directed by John Patton Ford
⭑⭑☆☆☆

 

EVEN if you have never seen the 1949 classic Kind Hearts And Coronets (and if so why not?) then this film gives you the gist of it. It is a fairly entertaining dark comedy thriller in which a man disowned at birth by his obscenely wealthy American family decides to kill his relatives to claim his inheritance. 

It is inspired by the British legendary film starring Alec Guinness in eight unforgettable roles but, frankly, it isn’t in the same league despite the magnetic Glen Powell going all out on a charismatic offensive as the charming serial killer whose seven rich victims are entitled, self-absorbed and vile. 

Written and directed by John Patton Ford, it is set in modern-day New York and opens with Becket Redfellow (Powell), on death row, confessing to a priest how he got there. 

It is fast and furious, but begs the question: why would anyone want to remake perfection?
MD
In cinemas now

Reminders of Him (12A)
Directed by Vanessa Caswill
⭑⭑☆☆☆

 

THIS is the third film adaptation of another of Colleen Hoover’s bestselling novels but unfortunately third time isn’t lucky. That said, this is still the best of the three, outclassing Regretting You and It Ends With Us. 

Directed by Vanessa Caswill and co-written by Hoover and Lauren Levine, it follows Kenna (Maika Monroe), a young woman who, after leaving prison, attempts to reconnect with her five-year-old daughter who is being brought up by her paternal grandparents (Bradley Whitford and Lauren Graham). Kenna faces massive opposition from all except for Ledger (Tyriq Withers), a bar owner, and her dead boyfriend’s best friend who is in her child’s life. 

The film explores motherhood, loss, redemption and second chances but it is very manipulative on the emotional front and very predictable. Nevertheless, the grounded performances and palpable on-screen chemistry of Monroe and Withers keep you invested, along with a film stealing turn by newcomer Monika Myers as Kenna’s plain-speaking young co-worker and friend.  
MD
In cinemas March 13